The Styles of Tango

Many terms are used to describe different styles of tango, such as tango milonguero, tango apilado, tango Villa Urquiza, estilo del centro, estilo del barrio, the salón style, tango de salón, tango fantasia, tango Nuevo, and tango para exportar.

The origins of various dance styles lie in human psychology. People who are feeling-oriented tend to focus on inner experiences. These dancers, many are milongueros, developed the milonguero style of tango, also known as tango milonguero or tango apilado. It is danced in a close embrace with a slightly leaning (apilado) position, featuring intimate physical contact and simple steps to emphasize connection and feelings. This style is commonly seen at tango clubs in downtown Buenos Aires, where crowded floors prevent elaborate movements, hence its nickname, "estilo del centro" or downtown style. The milonguero style prioritizes embrace and feelings.

On the other hand, dancers who are movement-oriented tend to focus on steps and action. These dancers, many are also milongueros, developed the Villa Urquiza style of tango—also known as the salón style—which is danced in a loose embrace with an upright posture to facilitate intricate movements. These action-oriented dancers like to dance at neighborhood clubs, such as Club Sin Rumbo in Villa Urquiza, where open dance floors allow for elaborate movement, hence the term "estilo del barrio" or neighborhood style. The Villa Urquiza style prioritizes footwork and impression.

The Milonguero style and the Villa Urquiza style are commonly recognized as tango de salón, or social tango. Social tango is a loose term—broad enough to encompass stylistic differences yet narrow enough to exclude anti-social behaviors. Social dancers may be feeling-oriented or movement-oriented, but they all dance in clubs and abide by the milonga codes.

Social tango dominated Buenos Aires' culture from the mid-1930s to the mid-1950s, a period known as tango’s Golden Age. Between 1940 and 1950, some 23 dancers—who were even more movement-oriented than their Villa Urquiza colleagues—met regularly at Club Nelson to develop novel steps. The result is a new style known as tango fantasia. The names of these 23 dancers are listed in Robert Farris Thompson's book, Tango, the Art History of Love. Danced mainly in an open embrace, tango fantasia dramatized tango with fancy movements and elaborate figures and distinguishes itself from improvisational social tango by employing choreography, rehearsal, and not conforming to the milonga codes. The purpose of this style is stage performance; therefore, it is also known as stage tango, show tango, performance tango, and exhibition tango (see Social Tango and Performance Tango).

From 1955 to 1983, Argentina was ruled by military juntas whose policies discouraged social tango. Curfews were enforced, and pedestrians were frequently stopped by the military police for interrogation. Many were arrested or simply disappeared for aligning with the previous, pro-tango Peronist regime. As a result, people stopped dancing socially, and tango went underground. The absence of social tango during this period gave tango fantasia an opportunity to take the stage. When military rule ended in 1983, it was this style that led to the revival of tango (see Tango: Historical and Cultural Impacts).

The renaissance was led by a group of stage performers who brought their show, Tango Argentino, to Paris and New York City in 1983 and 1984, where they ignited enthusiasm for their style of tango. Seizing the business opportunity, these professional dancers began teaching tango fantasia to Europeans and Americans, thus spawning the tango Nuevo movement that catered to the tastes of foreigners. Because tango Nuevo incorporated many non-tango elements, such as exotic music and eccentric steps, it ceased to be the tango in its original sense. For this reason, it is despised by milongueros, who call it "tango para exportar," or tango for export. (See Three Theories on Leading.)